GIORGIO DE CHIRICO (1888-1978)
Ponte di Rialto
signed 'G. de Chirico' (centre); signed and inscribed 'questa 'Venezia' (Ponte di Rialto) è opera autentica da me eseguita e firmata Giorgio de Chirico.' and further signed and inscribed 'Venezia (Rialto) Giorgio de Chirico' (on the reverse)
oil on canvas
50.5 x 60cm (19 7/8 x 23 5/8in).
Painted in 1956
Footnotes:
Provenance
Private collection, Milan (acquired by 1971).
Galleria La Barcaccia, Rome.
Anon. sale, Christie's, Milan, 23 November 1998, lot 280.
Private collection, Rome.

Literature
C. Bruni Sakraischik, Catalogo Generale Giorgio de Chirico, Vol. I, Opere dal 1951 al 1970, Milan, 1971, no. 49 (illustrated).

An enigmatic maverick in the history of modern art, Giorgio de Chirico forged a unique and long career. Hailed as the master of Metaphysical art, in the 1950s he departed from the elusive imagery that defined his early career and created his most celebrated depictions of Venice as part of his 'late Baroque phase'. These works which are rooted in realism as opposed to the imagination, stand out within his oeuvre, and derive from his desire to reconnect with the history of Venice and the dignity of the old masters which shaped the city's cultural legacy. Beyond the metaphysical elements of much of his corpus, the present work places his brand of genius in close conversation with his forefathers and is an affirmation that he too belonged to the lineage of the great Italian masters.

Born in Greece to Italian parents, de Chirico was surrounded by classical mythology, art, history, and architecture during his childhood. He first visited Venice in 1905 and throughout his career exhibited his paintings at the Venice Biennale. These sojourns provided ample opportunity for de Chirico to paint the sites, study the architecture, and to immerse himself amongst the masterpieces that fill the ancient city. For de Chirico, Venice served as an open-air studio from which he could draw endless inspiration.

Executed in 1956, Ponte di Rialto is testament to the artist's mastery of paint and use of colour. From its fine architectural lines to the palpable texture of the water and the clouds, the work strikes a wonderfully balanced tone with its compositional symmetry. With the iconic Ponte di Rialto commanding the centre of the scene, the calm canal widens into the foreground as three gondolas glide across the surface, exuding a sense of serenity. The detailed facades of the architecture capture the sunlight, while dramatic shadows are cast into the water. The harmonious colour palette - comprising blues, greens, ochres, and pinks - is skilfully brought together by the bold red banner hanging from the keystone, proudly presenting the artist's signature to the viewer.

Ponte di Rialto reveals a central desire of the artist held throughout his career, as described by Stephen McKenna: 'de Chirico saw himself as a man with a mission to fill (...): the preservation, or rather restoration, of the dignity of painting, the reestablishment of a respect and love for the Old Masters and the values they represent' (S. McKenna, Late de Chirico 1940-76, exh. cat., Bristol, 1985, pp. 11-12). De Chirico's relationship with Venice is comparable to Monet's relationship with Giverny – it was his own artistic playground, enabling him to develop his ideas and techniques. Moreover, his depictions of the city's canals, piazzas, and churches placed him in dialogue with the great Italian painters such as Titian, Tintoretto and Canaletto. Paying homage to the tradition of rendering the city's deep colours, teal canals and neoclassical facades, de Chirico also found Venice to be the ideal environment in which to hone his artistic skill and experiment with colour.
This lot is subject to the following lot symbols: * AR
* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.
AR Goods subject to Artists Resale Right Additional Premium.

The canvas is unlined. There are artist's pinholes to all four corners. Examination under Ultra-Violet light reveals no apparent inpainting or retouching.



There is frame rubbing to all four outer edges, with some associated paint losses, particularly visible in the upper right and lower left edges. Some gilt rubbing to the outer edges. Some small scattered paint losses are visible. There is a notary stamp to the lower centre (verso), faintly visible from the front. A few scattered scuffs to the surface. There is a pattern of stable craquelure, mainly visible to the foreground. Some surface dirt is present in places.



In our opinion, the work is in overall good condition.